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Michael Alexander Campbell, Portfolio of 2 works, 2025-26
Asset value
24.800,00 €
Earning potential
30.9%
Splints left
0/496
Investment horizon in years
3-5
Return-to-Risk Assessment
8/10
Performance since release
+0.0%
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Main reasons to invest
Return potential: An investment of €500 could reach an estimated value of €1,920 in 5 years.
Cost-to-return ratio: After deducting 3.0% in annual total costs, your net return could reach 30.9% per year.
Highest Quality Art Mentorship and Ecosystem 🎨: Mentored by Julian Schnabel, one of the most influential painters of our time, Campbell benefits from world-class guidance early in his career. While Schnabel’s influence is subtly present, Campbell is quickly developing his own visual and conceptual language. This rare combination of mentorship and originality positions him well for long-term market growth.
Description
Investment Thesis:
| Metric | Value |
|---|---|
| Investment Horizon | 3–5 Years |
| Balanced CAGR | 30.9% p.a. after fees |
| Optimistic CAGR | 40.5% p.a. after fees |
| Entry Basis | 0% vs. primary-market gallery price |
| Sharpe Ratio | 0.81 (vs. SMI: 0.61) |
| Value at Risk (VaR) | 86.4% chance to exceed the initial investment after 5 years |
| Standard Deviation | 39.8% |
| Risk Rating | B (7.2/10 - Moderate Risk) |
- 3–5 year horizon: Anchored by artist’s rising institutional momentum and confirmed exhibition schedule.
- 30.9% net ROI p.a. (balanced): Based on a 70% probability of repeating the CAGR observed in artists like Móyòsoré Martins (2019–2025).
- 40.5% CAGR (optimistic): Based on a 90% probability of repeating the CAGR observed in artists like Móyòsoré Martins (2019–2025).
- 0% entry premium: Total cost of €24,850 matches consistent primary-market price across two recent sales points.
- Sharpe ratio 0.81: Balanced risk-adjusted return relative to the SMI’s five-year Sharpe ratio of 0.61.
- 39.8% standard deviation: Risk derived from more liquid comps; reflects typical volatility of emerging art markets.
- 86.4% VaR probability: Likelihood that asset exceeds the initial investment in value after 5 years.
- Risk rating B: Moderate volatility balanced by favorable entry price and sales track record.
Why Invest in This Category?
Contemporary art has shown consistent long-term appreciation driven by cultural relevance, growing global collector bases, and strong institutional demand. When an artist gains museum recognition and upper-tier gallery representation, early works often experience accelerated value growth. High-quality unique paintings by rising contemporary artists offer a blend of scarcity, narrative depth, and market momentum – especially when pricing sits below current gallery benchmarks.
Contemporary art has shown consistent long-term appreciation driven by cultural relevance, growing global collector bases, and strong institutional demand. When an artist gains museum recognition and upper-tier gallery representation, early works often experience accelerated value growth. High-quality unique paintings by rising contemporary artists offer a blend of scarcity, narrative depth, and market momentum – especially when pricing sits below current gallery benchmarks.
Why Invest in This Asset? At just 26 years old, Michael Alexander Campbell is rapidly emerging as one of the most compelling young painters of his generation—an artist whose work has already captured the attention of collectors, curators, and critics. Born in the United Kingdom in 1999 and raised in Switzerland, Campbell’s perspective reflects a synthesis of European sensitivity and New York vitality, merging disciplined and traditional technique with conceptual depth. After earning his BA in Fine Arts with honors from Lancaster University in England, he completed a year-long apprenticeship in New York under Julian Schnabel—one of the most influential painters of the modern era. Campbell has since remained in New York, continuing to work part-time in Schnabel’s West Village studio. This close creative exchange has profoundly shaped Campbell’s understanding of scale, materiality, and the painter’s role as narrator and philosopher.
His inaugural solo exhibition, Sovereign Lapse, held at Casa Del Popolo inside Schnabel’s famed Palazzo Chupi, marked a breakthrough moment in his career. The show earned a coveted review in The Brooklyn Rail, firmly positioning Campbell as a distinctive new voice in contemporary painting. His subsequent solo exhibition, Hansel, Gretel, and Barbie on a Bike, at Luce Gallery in Turin, Italy, Campbell’s solo exhibition drawn significant collector attention, with numerous works sold early in the exhibition. Campbell’s work has also been featured at major international fairs, including Artissima—Italy’s leading contemporary art fair—and Untitled Art during Miami Art Basel week, and he recently completed two artist residencies: the Edelman Glion Summer Residence Program in Switzerland and another residency in Florence, Italy. Although he has been exhibiting for less than a year, his work has already been shown internationally, with a rapidly growing global audience.
Working primarily in large-scale oil on canvas, Campbell explores the threshold between abstraction and signification, distorting figurative elements until they no longer fulfill their traditional representational function. What remains—vibrant, psychedelic traces of color— forms a metamorphic structure through which viewers navigate the interplay between the artwork’s title, color, form, and meaning. Campbell approaches abstraction in two ways: he either takes an image, a photographic source, or an impression and turns it into abstraction, or he first creates an abstract work and gradually detects glimpses of figuration that lead to subtle signification.
These two works are linked through inherited narrative and the psychological charge embedded within each image.
Hansel and the Full Works of Freud depicts two figures locked in an ominous, overtly charged “mise-en-scène”. Referencing the fairy tale Hansel and Gretel, it is almost impossible for the viewer not to read the female figure in the foreground as Gretel, with Hansel half-submerged in shadow, looming menacingly behind her. The figures cast a disproportionately large and grotesquely disfigured shadow, one that bears little resemblance to their actual silhouettes. It looms monstrous and ghastly behind the protagonists, operating almost as a third character within the scene. The latter half of the painting’s title may allude to this shadow figure itself, invoking psychoanalytic frameworks and foregrounding the painting’s unmistakable psychosexual overtones.
Curiosity Killing the Cat unfolds within a markedly different atmospheric register. The painting emerges from a bed of hues recalling the chromatic complexity of a winter sunset, with deep pinks and lilacs vibrating above a glorious sea of yellows. The foreground is populated by a more abstract ensemble of forms, tree-like figures that nonetheless retain a faint anthropomorphic suggestion. Unlike Hansel and the Full Works of Freud, the shadows here are cast long and toward the viewer, as if the final blaze of sunlight is slipping below the horizon just beyond the right edge of the painting. The distortion and abstraction of the reference imagery leave only a moment of pareidolia, the fleeting recognition of a creature that never fully resolves. In the upper right quadrant, a cluster of marks and gestures appears to defy gravity within the pictorial space. These forms allude to something suspended, possibly lifeless, introducing a subtle violence into an otherwise luminous scene.
His inaugural solo exhibition, Sovereign Lapse, held at Casa Del Popolo inside Schnabel’s famed Palazzo Chupi, marked a breakthrough moment in his career. The show earned a coveted review in The Brooklyn Rail, firmly positioning Campbell as a distinctive new voice in contemporary painting. His subsequent solo exhibition, Hansel, Gretel, and Barbie on a Bike, at Luce Gallery in Turin, Italy, Campbell’s solo exhibition drawn significant collector attention, with numerous works sold early in the exhibition. Campbell’s work has also been featured at major international fairs, including Artissima—Italy’s leading contemporary art fair—and Untitled Art during Miami Art Basel week, and he recently completed two artist residencies: the Edelman Glion Summer Residence Program in Switzerland and another residency in Florence, Italy. Although he has been exhibiting for less than a year, his work has already been shown internationally, with a rapidly growing global audience.
Working primarily in large-scale oil on canvas, Campbell explores the threshold between abstraction and signification, distorting figurative elements until they no longer fulfill their traditional representational function. What remains—vibrant, psychedelic traces of color— forms a metamorphic structure through which viewers navigate the interplay between the artwork’s title, color, form, and meaning. Campbell approaches abstraction in two ways: he either takes an image, a photographic source, or an impression and turns it into abstraction, or he first creates an abstract work and gradually detects glimpses of figuration that lead to subtle signification.
- Upcoming
- Solo show in discussion, London, United Kingdom (2026, not yet confirmed)
- Solo show, Villa Magdalena, Madrid, Spain – Opening January 15, 2026
- 2025
- Untitled Art, Luce Gallery, Miami, United States – Art Fair (December 2–7, 2025)
- Artissima, Luce Gallery, Turin, Italy – Art Fair (October 31–November 2, 2025)
- Hansel, Gretel, and Barbie on a Bike, Luce Gallery, Turin, Italy – Solo Show (October 14–November 13, 2025)
- Roses of Heliogabalus, Mriya Gallery, New York, United States – Group Show (May 31–June 30, 2025)
- Sovereign Lapse, Casa del Popolo at Palazzo Chupi, New York, United States – Solo Show (March 13–26, 2025)
These two works are linked through inherited narrative and the psychological charge embedded within each image.
Hansel and the Full Works of Freud depicts two figures locked in an ominous, overtly charged “mise-en-scène”. Referencing the fairy tale Hansel and Gretel, it is almost impossible for the viewer not to read the female figure in the foreground as Gretel, with Hansel half-submerged in shadow, looming menacingly behind her. The figures cast a disproportionately large and grotesquely disfigured shadow, one that bears little resemblance to their actual silhouettes. It looms monstrous and ghastly behind the protagonists, operating almost as a third character within the scene. The latter half of the painting’s title may allude to this shadow figure itself, invoking psychoanalytic frameworks and foregrounding the painting’s unmistakable psychosexual overtones.
Curiosity Killing the Cat unfolds within a markedly different atmospheric register. The painting emerges from a bed of hues recalling the chromatic complexity of a winter sunset, with deep pinks and lilacs vibrating above a glorious sea of yellows. The foreground is populated by a more abstract ensemble of forms, tree-like figures that nonetheless retain a faint anthropomorphic suggestion. Unlike Hansel and the Full Works of Freud, the shadows here are cast long and toward the viewer, as if the final blaze of sunlight is slipping below the horizon just beyond the right edge of the painting. The distortion and abstraction of the reference imagery leave only a moment of pareidolia, the fleeting recognition of a creature that never fully resolves. In the upper right quadrant, a cluster of marks and gestures appears to defy gravity within the pictorial space. These forms allude to something suspended, possibly lifeless, introducing a subtle violence into an otherwise luminous scene.
Conclusion
With a fair entry point, strong early market traction, and institutional momentum, this offering presents a compelling opportunity in emerging contemporary art. Michael Alexander Campbell’s unique trajectory and growing collector base support confident exposure over a 3–5 year horizon, with strong return potential and moderated, data-backed risk.
With a fair entry point, strong early market traction, and institutional momentum, this offering presents a compelling opportunity in emerging contemporary art. Michael Alexander Campbell’s unique trajectory and growing collector base support confident exposure over a 3–5 year horizon, with strong return potential and moderated, data-backed risk.
Expert
M&A Arts Sàrl
M&A Arts represents the leading edge in art and finance, spearheaded by Asher Edelman, the renowned investor and art collector. With an unparalleled experience and extensive relationships in the art world, M&A Arts offers deep knowledge and expertise in the financial aspects of the art market.
Additional details
Asset ID
4620099d-cfa5-4b2b-bcb7-1b007c757490
Name
Hansel and the Full Works of Freud / Curiosity Killing the Cat
Artist
Michael Alexander Campbell
Publication year
2025-26
Size
both 200 x 150 cm
Number of editions
Unique
Material
Oil on canvas
